Visual Anthropology Research Papers

Gaining Control over the Loss of it. Software as Focusing Media in Digital Visual Ethnography.

2019, Social Anthropology

Guiding and transforming our creative practices, this paper argues for a critical investigation of the techno‐material affordances at play in doing visual research with digital media. It interrogates how software and skill might interact... more

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ESA2017_CFPs.pdf

by luca queirolo palmas and

Research Stream 15 - Visual and Filmic Sociology at Athens 2017 - Esa. Deadline for submission: 1 february

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Fiestas, imágenes, poderes. Una antropología de las representaciones - Francesco Faeta

by Ander Gondra Aguirre

¿Cuánto puede contribuir el estudio de las imágenes y representaciones, ya sea como arte, ritos o simulacros, a comprender relaciones de poder y de agencia? Ésta es la pregunta que replantea el conjunto de estudios etnográficos en... more

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“My Tomb Will Be Opened in Eight Hundred Years": A New View of the Afterlife in the Six Dynasties China

by Jie Shi 施傑

2012, Harvard Journal of Asiatic Studies

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Algumas notas sobre a historia do cinema documentario etnográfico

by Rafael Franco Coelho

2012, Comunicación: revista Internacional de …

Este texto pretende ofrecer una breve historia del documentales etnográfico, desde sus inicios hasta la actualidad. Además, vamos a incursionar en el cine etnográfico en Brasil, el aumento de las producciones más influyentes. Desde este... more

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The Ottoman Imagery of Jacopo Ligozzi in Medici Florence

by William Kynan-Wilson

2016, The Grand Ducal Medici and the Levant: Material Culture, Diplomacy, and Imagery in the Early Modern Mediterranean, ed. M. Arfioli and M. Caroscio, pp.101-11

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Humanity in Cybernetic Environments

by Daniel Riha

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Why Are Our Pictures Puzzles? On the Modern Idea of Pictorial Complexity

by James Elkins

1999

This is the entire book. "Why Are Our Pictures Puzzles?" is an attempt to understand why scholars have begun writing at such tremendous length on individual pictures. Before the 20th c., one of the longest texts on a single painting... more

of art written in the West before the nineteenth century, those written about the Western tradition but from outside Western Europe and America, and those written in China, Persia, and India before or beyond the influence of Western art history.** Those experiences brought home, as no others could, the oddity and mannerisms of our own writing.

example, is bound up with Dutch society, and nineteenth-century French realism has become a vexed term, mingling political meanings with psychological and phenomenological constructions of the word “realism.”” No contemporary art historian writing for a major journal can afford to simply praise a feat of naturalism without finding another register of meaning that somehow contains or explains the painter’s feat or the historian’s attraction. Gombrich’s lifelong investigations into perception and representation are the closest to a premodern interest in the techniques of realism, but they are not addressed to artists and patrons (as Vasari’s comments were).° Rather they are couched in terms of a larger history of Western illusion and a broad theory of resemblance and representation. From our perspective; Vasari’s ekphrases seem charged with unexamined assumptions and ineffectually concealed motives; and conversely, our own interest in the naturalistic building-blocks of pictures is expressed in terms of many other phenomenological, allegorical, political, and psychoanalytic interests. Our aversion to mere description, or to the apparently simpleminded praise of illusion, shows itself in the unexpectedly large bibliographies that have grown up around some arvvariudart anhiacta T haxa mantinnad unndnusa tahlac and uralla: and T usrant tn cnand a In past centuries the issues were much simpler. In Greek ekphrasis as in Renaissance art theory and historiography, commonplace objects such as faces, figures, buildings, streets, and landscapes often caught the commentator’s eye for their verisimilitude or the skill they revealed. Vasari is full of praise for well-painted streets, arcades, wells, towers, windows, chairs, and beds. In the twentieth century that practice is nearly extinct among art historians and critics, having been overtaken by more self-reflective and metaphorical observations. We are no longer concerned with skill or talent per se, and we are only interested in the machinery of naturalism as it pertains to ideologies of the image—the Dutch sense of naturalism, for

sictiaceitahad MR Maa! — ei I aaah Whatever Foucault’s essay accomplished for its generation, and whatever it continues fo mean, it remains inadequate to read it as an argument about epistemology that turns on 1 seventeenth-century painting.'” It is also about a certain sense of painting in general, and what interesting painting might be. I mean that both in an historiographic sense— since it is possible to argue that Velazquez intentionally made the most complex painting ne could—and in a critical sense—in that a certain version of the painting’s complexity ‘possibly not congruent with its complexities as Velazquez may have understood them) continues to be important for current scholarship.'* Snyder is correct in saying Velazquez constructed an intricate perspective, but

baw Often enough, art historians build meanings according to informal rules of connectedness and coherence that are not at all incommensurate with this picture-puzzle model, but they terminate analyses without saying how they know they have found and assembled all the pieces. Settis enumerates thirty or so iconographically significant features of the Tempest, and together they constitute his complete “jigsaw puzzle” (plate 11). He names the man, the woman, the child, the stream, the man’s staff, the city, some details of its construction, the broken column, the lightning and storm, the bridge, and— most contentiously—a small wormlike form in the foreground, which he says is the snake from the Garden of Eden, slinking back into the earth.

declared that Pollock would never paint in such a manner. He detached several vertical strips, transposed them, and revealed the correct solution.'* Springbok’s Convergence, No. 10 differs from the German panoramic puzzle in that the pieces interlock, even though there may be some uncertainty in any given case. Metaphorically speaking, Convergence, No. 10 has some structure to its indeterminacy, as if parts of an interpretation might cohere, but have indeterminate relations to other parts. In the other case almost any two meanings might go together.

Puzzles are the first of the three models of meaning I am going to explore in this book; the second is ambiguity. The models intersect with one another (in some cases, they are certainly “layers”), and in this instance each of these puzzles implies a different sense of pictorial ambiguity. The first—puzzles that have double meanings, clearly distinct from one another—corresponds to ambiguity in the logical sense, where a picture may seem to mean two contradictory things. Renoir’s Woman at the Piano might be about music and light, or it may be about Panama and Poland. The two jar with one another: they are not opposites, exactly; but they are as close to logical antipodes as it is possible to get in painting.

there are also pieces that strictly follow the picture’s contours. A woman’s silhouette cuts across the fir tree, spanning half its width and also taking in some of the sky to its right. Just behind her is a form-fitting piece that follows the tree but also her head. The puzzle is an intermittently random imposition of pictures and figures on a single large picture. Some pieces repeat the shapes of the Zhe Approaching Ship, and others are scattered about by the puzzle makers so that they are spread evenly throughout the picture, without attention to how they overlap depicted forms. Wes: Sie: ey SO re ee ce ce ies ces: es es an a ae Ee ce es Be i cc a rE ees aaa

Modes of reading are decisively affected by the absence of the fabula. Having gotten the elements of the story from the three episodes, an interested viewer will return to see more: the painting gives away enough information at first so that it becomes a puzzle. But it is bound to be disappointing, except to admirers of Beckmann, that the puzzle hits a dead end so quickly. We might look to the organ grinder surrounded by angels in order to see if there might be a connection between that promised vision and the transcending energy of the center scene. But he is inscrutably double: part of him is Celestial since he is surrounded by angels, but part is impotent and fragile, even perverse. To one author, he is “the evil demiurge who has created the world and oppresses mankind”; to another, he is powerless but inaccessible Fate; and to a third, he is the Harper from Goethe’s Wilhelm Meister.'° If God is a blind beggar, then the center scene will indeed propel us back to the flanking ones; if he is anonymous Fate, then the child’s wild rocking might augur well for the future.'' The slow spread of ambiguation is a daunting challenge for an iconographical approach, despite the richness of Beckmann’s mythologies. Clifford Amyx’s book The Iconography of the Triptychs is an exercise in disillusion; at one point he concedes that ambiguity itself is the principle by which the paintings have to be understood.'* There is broad critical consensus on the impossibility of finding what I have been calling the fabula, even in The Beginning where the subject is so clearly autobiographical, and recent accounts have become reflections on the failure of

four (as in this painting), then just two.”° Especially to people who have seen the earlier pictures, the paired bursts look like signs, reduced to their most universal common denominators, as if the paintings denote life and death, or old/new, stasis/time, or perfection/corruption. For some viewers they harbor more specific meanings, such as eye/body, sun/land, or car light/street. One contemporary critic thought they represented the Yin-Yang opposition; H.H.Arnason thought they stood for “order and chaos”; and Dore Ashton proposed they denoted earth and sky.”’ Any interpretation, or no distinct interpretation, will do. Nothing internal to the painting tells us which shape is most important, or which interpretation closer to Gottlieb’s intention. Gottlieb himself vacillated between a doctrine of “meaning in terms of feeling,” where nothing more could be said than that the burst: were “intangible and elusive images,” and a doctrine of dualities, where one side represents an “urge toward serenity and peace” and the other an inclination towarc nervousness and energy.”® The first would not be open to Empson’s analysis, since it is < holistic approach (it would also be immune to the picture-puzzle model). But the seconc is already a type-1 ambiguity, since Gottlieb doesn’t say whether “serenity” or “peace” is more important, or which one matches with nervousness. In other interviews he compounds the same difficulty, saying the bursts represent “opposites like black anc white, night and day, good and evil.””’ Inevitably, it comes to seem as if duality o1 polarity is itself the subject, just as Empson makes Shakespeare’s line into a meditatior

After a short introduction on ambiguity itself—which I am deferring until the next chapter—Steinberg begins by studying ambiguities about the moment depicted in the painting. His double position is that the single moment is foo easy to depict, and that modern “positivistic” thinking and Goethean dramaturgy have led us to expect a single moment, so that we may even be incapable of registering a painting that shows us several moments at once. The earliest copy of the painting is captioned “One among you will betray me” (plate 25). Even if the copyist was right, “unus vestrum” (“one of you”) implies not one moment but two: the one in which Jesus spoke, and the one immediately following when the Apostles reacted. Clearly, the painting may be either the second, or both, even if it cannot be only the first (plate 26). A closer look shows an interesting symmetry between Judas’s left hand and Jesus’s right hand: they flank a bowl from opposite sides, without touching it. That configuration implies a further moment: when the apostles ask who will betray him, and Jesus replies “he that dips his hand with me in the dish” (or else, as in Luke 22:21, when he says “the hand of him that betrays me is with me on the table”). That is three possible moments, the first two of which may

Steinberg collates the opinions of several writers, and decides that the first two moments are clearly present in the painting, despite an “avalanche of positivist rationality” that tried to reduce the theme to the moment of betrayal (301). But there is no clear trajectory from Renaissance multivalence to modern certainty, since even the earliest copy omits the dish. Raphael’s version, engraved by Marcantonio Raimondi, “silences” Jesus, in order to ensure that the scene depicts the second option, when the apostles react to Jesus’s initial statement (plate 27).

These problems occupy the first two chapters of the book-length article. Each ambiguity builds on the last, increasing the difficulty of the whole. Next is the question, If Leonardo did not confine himself to one scale, or to one instant, did he at least show a single subject? The two principal alternates are a “psychological drama” of the Last Supper and a “mystic theology” of the Eucharist. If it is a Eucharist, the painting would represent the moment when Christ said, “Take, eat, this is my body,” and was about to say, “Drink ye all of it, for this is my blood”—or, in parallel with the choice of moments in the Last Supper, Leonardo may also have intended the moment just afterward, when the apostles reacted. There is something mystical about the composition of the scene, both in the way that “Christ’s outspread arms initiate a forward directional flow that continues, under the drop of the tablecloth, in two orthogonal floorlines in front of the table,” and also in the concatenation of Christ’s left hand, Thomas’s doubting finger, and James’s hand outspread in wonder, which together suggest the mystery of the Eucharist “as if in a rebus” (229, 330). Most people who have analyzed the painting in pictures or in words tend away from the more mystical, holistic answer, preferring to read the painting as a “psycho-drama” comprised of separate moments.

The apparition would certainly have been unexpected, and it would have been representationally complex: as Steinberg says, the central stripe would have been “an actual vertical, representing a horizontal, which in turn stood for a vertical” (346). Most copies omit the floor stripes, and Steinberg proposes that viewers unconsciously resisted the apparition of the crucified Christ because it would make the painting inassimilably complex. Not so for Leonardo: “faced with the choice between psychological drama and mystic theology,” Steinberg writes, Leonardo “embraced both” (337). It might seem that all this is enough to pronel us into Emnson’s fourthtvne ambicuitv.

A complement to “meaningless” poesie are “poetic” meanings—Subject paintings by nature so diaphanous that they appear as Not—Subject. Calling the Tempesta a painting of music or poetry is an example of this, and several of Botticelli’s pictures are built around especially silky primary meanings. The principal theories regarding Botticelli’s sources are fewer but no less embattled than the alleged sources for Giorgione’s poesie.*! Since Neoplatonism—an undoubted source, among others that are less widely accepted— is syncretic and synthetic, its meanings tend not to contradict one another; but neither do they reliably add to produce a single central meaning. (Neoplatonic meanings have also been proposed for the Tempesta, with similar effects.) To the extent that they embrace Neoplatonism, the proposed sources for the Primavera do not conflict or build, but blend and alternate. They tell a story of commingling meaning (plate 31). The painting is an unambiguous Subject since it is about the spring, Primavera, but its blending of ancient and Renaissance texts prevents it from being perfectly unequivocal.

The self-contradiction of monothematic readings and the point-by-point contradictions between alternate readings, are two kinds of evidence that the Sistine Ceiling is an ambiloquy. To pursue the hypothesis it would be necessary to describe how and where Subject yields to Anti-Subject, or unambiguous ordering yields to indeterminate o1 indifferent ordering. But before such a reading can even get underway, it is hobbled by the realization that the Ceiling fails to present any clear (that is, reasonably unambiguous) division into parts, units, scenes, episodes, figures, motives or motifs, types, of sequences. Charles Seymour concludes his survey of the literature by remarking that “despite recent profound research it is not yet wholly certain how, in a more specific dogmatic or theological sense, all the various single elements of the theme relate precisely to each other”—but what, exactly, are the “single elements”?*’ Malcolm Bull begins an essay on the Ceiling by stating there are “about one hundred and seventy-five picture units” in the Ceiling; but depending on how a viewer counts, there may be 4

oward the specifics of Subject. One problem with reading Watteau as an Anti-Subject painter is that these strategies 1o not form a sequence that runs through his work, so that he could be observed as he liscovered each new way of avoiding the Subject. Much more often it appears that he was working with some subject that he simply did not care to specify. But what kind of subject could that have been? The féte galante, the subject “invented for Watteau,” was 10t unambiguously recognized by Watteau’s contemporaries as a genre. In the Royal Academy records, Watteau’s Le pélerinage a l’isle de Cythére is listed by name, but the 1ame is crossed out, and “une feste galante” has been put in its place.’ This document shows that from the very beginning Watteau could induce a vacillation on the subject of Subject. His position induced aporia then as now, and it is not too extravagant to say that 1e occasionally painted the idea of Subject, rather than Subject itself. And what would it mean to think of Watteau’s paintings as Not-Subject? It would

Michael Fried in reference to Courbet range from “corporal” self-portraits in, or as, ordinary-looking trees and rocks (that is, foliage, cliffs, and stones that do not especially ook like human forms, but stand in for them) to evocations of the painter’s body in fish, and his own viscera in flowers.” Hidden figures have also been seen in scientific images, such as the fighting dinosaurs and disappearing birds that E.N. Lorenz, the father of chaos theory, found in his computer printouts of new “attractors” (plate 40).° (Lorenz had he habit of adjusting the mathematics of his attractors so they played out dramas like oirds disappearing in bushes.) I find cryptomorphs historically puzzling, since they are found through-out the history of Western and Islamic art (but not in China, Mesoamerica, or India); and I find them epistemologically puzzling, since they are neither entirely false nor widely accepted. Since the field is so ill-explored, this chapter has several partly incompatible purposes: I will take up some questions concerning the history of cryptomorphs, and also a few of the problems attending the curious fact that no one finds it necessary to argue against them (almost as if they should disappear the same way they came—by fiat). I will also be pursuing a hypothesis about the place of cryptomorphs in the longer history of “chance” and “natural” images. But my principal interest is the behavior of the art historians who claim to find the images, and as I go through the material I hope the reasons for that bias will become clearer. Cryptomorphs, I think, are best understood as signs of a dire anxiety in the face of pictures. Finding something that seems to demonstrate itself may be a way of short-circuiting what is truly disturbing about pictures, and making them into merely surprising tricks: a possibility that I want to take as seriously as I can, both here and in the final chapter.

tendency to bring images “out” of their inchoate matrices in the material. Occasionally a “random” mark will be enough to serve as an image without being improved or completed. Picasso’s Crucifixion (1930), an important painting that inventories a number of his previous styles, has a prominent asteroid-like sponge in one corner: one of Picasso’s few gestures in the direction of chance images (plate 41). It is an unusual image, since it represents the natural object that could have helped make it. It is at once an aleamorph, an unlikely sun, and a painting of the Biblical vinegared sponge; and like Ugo da Carpi’s painting “made without a brush,” it cites the acheiropoietic images made in the middle ages.'” Aleamorphs mingle two possibilities that can be entirely disjunct: either hidden images are seen in objects, or they are placed there. The discourse is further confused by the permutations of natural and human agency: Nature or people might do the placing, and likewise the objects in which things are seen may be natural or artificial. Without disturbing that conceptual disorder, I would like to bring out the difference between “seeing in,” as Richard Wollheim says, and hiding. Aleamorphs are sighted, “seen in,” and afterward they may also be “brought out” (in the language of the studio). We might prefer to say classical aleamorphs are created by being seen, and that clarifies what I take to be an essential distinction between aleamorphs and other kinds of hidden images: aleamorphs are neither painted nor sculpted. A pure aleamorph is acheiropoietic, an image not made by human hands. By contrast, a pure cryptomorph is made, and then seen.

tiny scene of the crucifixion, visible through the curtains at the upper left—another window on the same theme of transitory life and eternal redemption. Hiding and revealing, seeing and seeing-in, are all at play in the more interesting anamorphs. As the scatological scene becomes visible, Jonah and the Whale (a scurrilous metaphor for the body’s evacuation) disappears, and when the skull is visible, the French Ambassadors Making this slightly artificial distinction helps suggest a conceptual sequence leading from aleamorphs (which are merely seen) to cryptomorphs (which are imitations of aleamorphs). The conceptual sequence entails an historical sequence, and to introduce it I want to bring in a third term that is “between” aleamorphs and cryptomorphs: anamorphs. In the sixteenth and seventeenth centuries anamorphs were the most common kind of hidden images. Anamorphs (meaning “without form’’) were images made with the help of perspective (or with knowledge of perspective, but without its rules), so that they could only be seen from certain skewed viewing positions. The stretched skull in Hans Holbein’s French Ambassadors has become the classic, overinterpreted example. An image from a few years later, Erhard Schén’s Was siehst du? (What do you see?) shows—apparently—a few marginal scenes, including a small Jonah and the Whale, around a central smear (plate 42, top). It turns out that the smear is a man defecating. To see the picture a viewer needs to adopt an uncustomary position, putting an eye close to the left-hand border of the picture. Anamorphs are full of wit about the displacement of the viewer, and humor at the viewer’s expense; in this case a viewer who bends and squints to see that’s in the picture may also sense a parallel between his pose and the pose of the figure in the print. Nor is it irrelevant that the form of the scene mimics its subject, since the smear is itself scatological. Schén’s companion piece, titled Aus, du alter Tor! (Out, you Old Fool!) is pornographic, and we bend and squint to see it, as if we were looking through a keyhole. Often anamorphs contain a third and final moment, after the initial confusion and the subsequent enlightenment, when something new reveals itself. In this case a viewer who returns to a more normal viewing angle will be likely to search for the distorted figure, and notice the goat just behind him, rearing in surprise or disgust. In The French Ambassadors, the final moment may be the one when a viewer discovers the

“Hidden Pictures” made popular in Highlights for Children magazine—and the half- assent that results if we agree to suspend a nagging disbelief that a hidden image exists— as in the Michelangelo or the Leu.”° Castelli defends his half-visible discoveries by appealing to depth psychology (Tiefenpsychologie): an artist, in his view, can be accomplished and in full control of his work and still produce a monster, an “unconsummated symbol,” which is the true expression of the unconscious.”’ Since those symbols need not obey the conscious criteria of legibility, form, and technique, they might well be difficult to see. But the tiefenpsychologische approach also opens the door to any half-hidden form.

ing: and at the worst, they overwhelm the pictures with inappropriate visions of Rom togas and romantic scenes of the Campagna. Such cryptomorphs are not meant to be fu seen: they take their power from their vagueness, like the spectral figures in Beckett’s Seen Ill Said that never quite come into focus—and are all the more memorable for it.” Cryptomorphs whose forms are close to what a picture already seems to depict are | insidious. By the nature of the moving body, Pollock’s gestures are a little like figur and by the nature of sunsets Rothko’s glowing fields are something like clouds. TI similarity—which is almost a strange camouflage, with the object hidden behind version of itself—lets the manifest and the hidden coexist with minimal dissonance. If stones in this image from the fourteenth-century Book of the Marvels of the World ¢

little faces, then that is consonant with the fecund nature that actually does sprout faces in other paintings (plate 57). Some of the rockforms in this fifteenth-century illustration (plate 58) may well be faces, especially the ones near the

common with the manifest image. The cryptomorph is a true vision, not bound by the everyday rules of camouflage.) On occasion it is possible to argue against a cryptomorph by noting the part played by the medium itself. Just as a sponge or a rag soaked in paint will produce certain characteristic forms that cannot be cleanly controlled, so oil paint and other media are sometimes recalcitrant or unpredictable, and the simple act of making an image will produce unintended “hidden” images.’’ Y.Korshak has proposed that Van Gogh’s Crows in the Wheatfields contains a hidden Last Judgment (plate 62). She identifies the dove of the Holy Spirit (represented by the triple tines of the wheatfield paths, with the head and beak delineated by the middle path) and an angelic trumpeter (riding a bright cloud, trumpet in hand, to the right of the center). Yet the trumpeter is scarcely four brushstrokes in all, so it might well have been inadvertent. To argue otherwise would be to impute to Van Gogh an implausible control of his expressionist technique; as any painter knows, the viscosity of the paint and the speed of the brush make it nearly impossible to control or avoid forms of this kind. Unwanted forms often appear in the course of paint- ing, and artists frequently have to erase unintended shapes that other people see in their pictures. Korshak’s angel trumpeter is probably an aleamorph, seen in “random” marks. Unfortunately these kinds of argument don’t help with the majority of cryptomorphs. (And they do not offer a way of refuting Korshak’s identification of the dove of the Holy Spirit.) Because simple claims, such as the sighting of a single hidden figure, can engender complex counterarguments, it can be very difficult to argue against even the simplest sighting of a cryptomorph. In 1990, Frank Meshberger, a doctor with an interest in art, reported finding a brain in Michelangelo’s Creation of Adam on the Sistine

VELIOUL LAL TOU Y Witt IVIIUMEIAUEELO S WOLKIIIS LUCULOUDS. 2. Michelangelo was in all probability not interested in anatomic forms that are n visible on the surface of the body. He left several anatomic sketches, each of superfici muscles.*° His interest in motion and contrapposto is well documented, and he 1 virtually no sketches of rigid “elevations” and “plans,” not to mention “sections,” whi were largely developed in later centuries.°° Combining the medial aspect of the rig hemisphere (a “section,” in the terms that nineteenth-century anatomists borrowed fro architecture) with a left lateral aspect (an “elevation,” employing the same terminology} 1s Dr. Meshberger suggests, is even more strongly anachronistic. So it could be said th his particular view of the brain is something that a nineteenth- or twentieth-centu observer might tend to see, as opposed to a way of visualizing the brain native to tl early sixteenth century. Plate 63 (right-hand view)

another (above and to the right of the peak of the largest house); Geist says they are labia and the hand is groping for them. Since the two forms don’t look like labia, Geist justifie himself by noting they also don’t resemble trees, bushes, or other landscape forms in th painting: as he puts it, their “presence in the landscape is difficult to justify from | geological, botanical, or horticultural point of view.” The reading is completed by : phallus on the horizon. The landscape in the Small Houses at Auvers is therefor hermaphroditic and anatomically disjointed: it has three legs, labia that lie on top of on another like pancakes, an erection sprouting from a thigh, and an unattached hand Geist’s reading is harsh and almost surrealist in its collection of misfitted anatomica parts, but even so it is difficult to argue against in light of the idiosyncratic sexual drama and throngs of suggestive forms in Cézanne’s early painting.’ Since Giorgione landscapes have been traditional carriers of half-hidden puns on the curves and rhythms f the body. Given Cézanne’s earlier work and the history of eroticized landscape, it may egin to seem as if the only way to argue against Geist is to urge that his psychoanalytic reoccupations are modern, or that they miss the meanings of Cézanne’s enterprise: but hose are weak objections, resting as they do on a sense of propriety and a “proper” or onventional interpretation of Cézanne.” Ss ee a i ee ee a ee ee, ee, ee. ee, ee ey ee, Sn ee ee, BR 2.

The moments in which cryptomorphs first appear would be particularly promisin subjects for a psychoanalytic inquiry. The “method,” as Freud said of Salvador Dali, “pure fanaticism”: the writer is no longer in control, since the images simply appear. | the essay “Lenin in Las Meninas” Geoffrey Waite says that the back of the painter canvas was decorated with a skull—that is, until the painting was cleaned in the 1980: Then the skull miraculously moved up a little, to another place higher on the canvas! Fir: it was on the middle section, and now it is on the top section.” I can almost imagin Freud reading that and nodding his head—after all, it is a textbook case of hallucinatiot linked with a repetition compulsion. Waite does not say anything about the moment whe he discovered either images: they were simply there to be seen. There are remarkably few stories ahont the mament when the hidden forme fir

last “explanation” I entertained was in Chapter 2, where I considered the possibility that art historians write in order to memorialize and promote a certain version of the past. Since then, I’ve been caught up in my descriptive project, concentrating on how writers have captured the meaning of pictures in specific instances. This coincidence of psychoanalysis, surrealism, and art history suggests a different tack. What if the cryptomorphic turn, and the complexity of contemporary art history in general, are echo- effects of earlier movements in art and in psychoanalysis? —| ee 11 x ye comer 4 ut

Yet I’m unsure about this explanation, for two reasons. The claim that psychoanalysis along with some analytic cubism and surrealism) spurred art historians’ propensities for 1idden images is a very general one, and so it is most persuasive when it involves exact yarallels between pictorial practices. Freud’s book on Leonardo is the best match, even hough it is decidedly odd both as psychoanalysis and as art history. Elsewhere the yarallels become less convincing. Art historians tend not to find the half-illegible nonsters Max Ernst hid in his paintings: instead they find eminently clear and nterpretable figures. Nor do art historians find images that turn entirely into other mages, the way that Dali’s “atmospheric apparitions” shift back and forth: instead, art uistorians find smaller images in larger ones. The half-visible forms in analytic cubist yaintings might be compared to the half-visible forms found by Ladendorf, Castelli, or Carlstrém: but cubist still lifes are typically made of obvious parts of things (the neck of 1 carafe, a fragment of a newspaper), and the cryptomorphic critics find uniformly lisfigured images.

to cause me anguish”: it seems that if any image is primordial in his imagination, this one is. But the excursus closes by saying that the analogy to the Angelus was clarified after yet another delirious phenomenon, the unexpected apparition of a set of china decorated in Angelus motifs—and that apparition is listed as number five out of six aspects of the “second secondary delirious phenomenon”: in other words, the structure closes on itself, bites its own tail.”

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Face and Mask: A Double History by Hans Belting

by Younes Saramifar

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Weaving Worlds Directed by Bennie Klain

by Heather Howard

2010, Visual Anthropology Review

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Handbook of Arts-Based Research

by Patricia Leavy

Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing,... more

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Penser l'image I (3e éd. 2019)

by Emmanuel Alloa

2010, Penser l'image

Qu'est-ce qu'une image ? La multiplication proliférante des images semble bien – et c'est là son paradoxe – inversement proportionnelle à notre faculté de dire ce qu'est réellement une image. Si notre interaction quotidienne avec les... more

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A different kind of ethnography

by Denielle Elliott

All rights reserved. The use of any part of this publication reproduced, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, or stored in a retrieval system, without prior written... more

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Penser l'image II. Anthropologies du visuel

by Emmanuel Alloa and

2015

Ces dernières années ont été le théâtre d'une étonnante résurgence de la question anthropologique. Parmi les propositions les plus débattues, il y a eu celle qui consisterait à penser l'homme non pas comme un animal doué de langage, mais... more

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by Alexander Rödlach

Rödlach, A. (2010). Popular Images of the AIDS Epidemic. Contemporary Wood Sculptures from Southern Zimbabwe. African Arts 43(2):54-67.

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Штирлиц в школе: поиски позднесоветской риторики в «Доживем до понедельника» Станислава Ростоцкого

by Vadim Mikhailin

Search for post-thaw late Soviet rhetoric in "Let's live up to Monday" by Stanislav Rostotsky

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“Making and Presenting“ Ethnographic Films: Practical and Ethical Dilemmas in Visual Anthropology

by Manca Filak

2015, ЕтноАнтропоЗум/EthnoAnthropoZoom

In the following essay the authors discuss visual anthropology based upon their own experiences with ethnographic films. Through the analysis of their work they are thinking about visual representations that are created through the... more

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What's Real About Virtual Reality?: Anthropology of, and in, Cyberspace

by Chris Gray

1992, Visual Anthropology Review

Page 1. WHAT&amp;amp;#x27;S REAL ABOUT VIRTUAL REALITY?: ANTHROPOLOGY OF, AND IN, CYBERSPACE CHRIS HABLES GRAY &amp;amp;amp; MARK DRISCOLL THIS IS THE SIMMERING OF THE ELECTRICAL IMAGINATION, WHICH FAIRLY ...

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Forms of Seeing / Seeing as Social Practice - Fall 2015

by Stephanie Sadre-Orafai

An ethnographic approach to a range of visualizing practices and forms, emphasizing seeing as a socially situated, culturally variable, and historically specific practice. Topics include image, imagination, and power; visual economies;... more

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Pinney C. "Photography and anthropology"

by Filip Wroblewski

2016, Lud

Book review. Christopher Pinney monographs "Photography and Anthropology". (Full text of review in Polish).

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Seung-Hoon Jeong: Cinematic Interfaces. Film Theory After New Media

by Lars Christian Grabbe

Der Begriff des Interface kategorisiert die Ausprägungsstufen einer kommunikationsstabilisierenden Schnittstelle als Interaktionsmechanismus, wobei die Interaktion von maschinellen Komponenten (Hardware, Software) sowie die vielfältigen... more

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DE DUCHAMP A FEYERABEND; LA FICCIÓN COMO CONOCIMIENTO, SUBJETIVIDAD Y TEXTO

by Adolfo Vasquez Rocca

2009, DE DUCHAMP A FEYERABEND; LA FICCIÓN COMO CONOCIMIENTO, SUBJETIVIDAD Y TEXTO,

RESUMEN La relación interna entre filosofía, literatura y arte permite examinar con propiedad qué significan la pluralidad y complejidad en los usos de la razón. Posibilita la aproximación a esos usos y figuras desde un ángulo... more

RESUMEN
La relación interna entre filosofía, literatura y arte permite examinar con propiedad qué significan la pluralidad y complejidad en los usos de la razón. Posibilita la aproximación a esos usos y figuras desde un ángulo privilegiado. El interés por lo literario y artístico no tendría por qué significar un apresurado abandono del modelo discursivo y analítico -que es característico de la filosofía-, sino más bien el acceso a un punto de vista más completo, un nuevo método reflexivo, otro límite crítico. Esta perspectiva facilita la puesta al día de las tesis modernas sobre la filosofía como emancipación, esto es, como su salida de la minoría de edad.
Espacios ficcionales, campos de proyección de la experiencia, métodos y perspectivas trasdisciplinarias constituyen los distintos niveles a través de los cuales se trata de definir un nexo complejo entre discursos. La ficción como conocimiento, subjetividad y texto, así como la relación entre mundo y lenguaje pretenden acotar algunas dimensiones de esa relación.
A través de la literatura llegamos a estar familiarizados con situaciones, sentimientos, formas de vida, obteniendo así una mirada desde dentro -epistemológicamente empática-. Cada nueva visión del mundo constituye un nuevo tipo de conocimiento, un conocimiento que puede incluir aspectos cognitivos y emotivos y que demandará, probablemente, algún tipo de lógica paraconsistente. De modo que a la par que por nuestras narrativas creamos o descubrimos mundos (dependiendo del estatuto ontológico otorgado a la ficción) también establecemos o desentrañamos la legislación lógica, según la cual tal curso de sucesos o tal tipo de entidades son o no admisibles al interior de este particular mundo posible.
Precisamente, es en la constante re-creación de sus objetos, práctica que surge en una comunidad de problemas -un espacio de representación colectiva- el espacio en que se da la ciencia. Es, precisamente, en una particular forma de hablar y de referirse a objetos, creándolos con el habla, el que funda a la medicina -por ejemplo- como cuerpo autónomo de conocimientos, vale decir como ciencia de primer orden. Las disciplinas, pues, en tanto discursos, están, literalmente, constituidas por él. Por ello es necesario estudiar el discurso científico en tanto que discurso, hay que reflexionar sobre sus orígenes y modo de constitución, hay que aceptar que no es sólo un producto sino una fuerza productiva. La realidad es una narrativa exitosa. Es aquello que se hace hablando. Las comunidades científicas son comunidades de problemas y, sobre todo, de retóricas, reconstrucciones de objetos que sólo existen en tanto se habla de ellos de una determinada manera,
Hasta los mundos narrativos más imposibles tienen como fondo lo que es posible en el mundo que concebimos como real. Las entidades y situaciones que no son explícitamente nombradas y descritas como diferentes del mundo real son entendidas a partir de las leyes que aplicamos a la comprensión del mundo real.
Así, pues, la narración de ficción construye un modelo análogo del universo real, una proyección...lo que permite conocer la estructura y los procesos internos de la realidad y manipularla cognitivamente. Se otorga así un valor cognoscitivo a la ficción, de modo tal que todas las posibles connotaciones, no expresadas directamente por el texto, sino -más bien- mostradas implícitamente o implicadas contextualmente en lo allí dicho, iluminan aspectos de la realidad que sin estas extrapolaciones ficcionales permanecerían en penumbras.
La perspectiva crítica -propia de la filosofía- puede hallarse así implícita en escritos de ficción, de la misma manera como las teorías filosóficas pueden aceptar como suyos a los argumentos procedentes del discurso literario. La reflexión filosófica se articula, pues, desde distintos ámbitos y modalidades discursivas.
Dr. Adolfo Vásquez Rocca

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Dapodo, imagem Xavante

by Aline Yuri Hasegawa

2015, Visualidades

This article addresses the political and cultural implications of the contemporary Xavante audiovisual production at Wederã and Etenhiritipá villages. Taking as point of departure the authors's participation in the filmed record of an... more

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The Unnamed Body: Encountering, Commodifying, and Codifying the Image of the Black Female

by Alissandra Cummins

2016, Nka Journal of Contemporary African Art

In a place like the Caribbean, we cannot take the agency of portraiture for granted in the aftermath of a much longer history of topographical and anthro-pological representations. .. In the pictorial domain, we are still anthropological,... more

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Gill's War

by David W Savage

2016, Gill's war

The burial photograph taken at a German Cemetery on the 4 April 1944 is of Flight Sergeant Jones DFM’s funeral. His daughter Gill Sarsby was born one month after this event so they never met. Gill has always mourned not knowing her... more

Flight Sergeant James Ellis Jones DFM cvistinguished Flying Medal) 1920 - 1944 Dedicated to the memory of:

Plate 3: Neuburxdorf Cemetery 4 April 1944. Gill’s War: The Burial Photograph

Plate 4: Stalag 4b Photographic personnel.

Plate 5: Stalag 4b Wehrmacht Intelligence Service: Note: Mostly Allied Forces personnel.

Capt. Day is the only Commonwealth soldier wearing a great coat, possibly

Plate 9: Wreath with Nazi Swastika on Jones’ coffin.

German military honours (Plate 10). Plate 10: Corporal Brown’s burial 1943, subversive photo (Vercoe 2006:137). Copyright: Dr.

Plate 11: Funeral of Private Farmer 15 August 1944. Note: Union Flag draping coffin. Copyright: I. L.M. shot Jones.

Plate 12: Identity Unknown. Note: second grave prepared. Copyright: I.L.M.

Plate 13: South African Forces Sergeant ‘Pop’ Benson’s funeral 12 July 1944 Copyright: LL.M.

not excessively so. Plate 14: Rear of the burial photograph. See also plate 20.

to six months after it was taken when Enid first saw the photograph. Plate15: Gill aged 6 months with Grandparents

Figure 1: Possible declining effect of an object’s agency.

Bedwas Memorial Plate 17: Bedwas and Trethomas War Memorial: Copyright: Waymarking.com Public memorials

The Berlin Grave Plate 18: Charlottenburg Cemetery Berlin.

Figure 2: CWGC transference details. Note: Red ink also used on figure 5. Copyright: CWGC

Plate19: Original 1950 cross Charlottenburg Cemetery, Berlin.

Plate 20: Rear of plate 19 thought to be a message from Gill’s grandfather. Note: lack of album marks as on the burial photograph (Plate14). Possibly meaning

Plate 21: Gill at her father’s grave, Charlottenburg Cemetery, Berlin. : Courtesy: G. Sarsby

Plate 22: Bomber Command memorial London.

Plate 23: Gill Sarsby’s visit to BC memorial. Courtesy: G. Sarsby

Figure3: Location map. Copyright: Google Maps

Plate 24: 2016 Vertical image of hospital and Stalag 4b site.

Plate 25: 1945 RAF vertical image of Stalag 4b

Plate 26: 1945 RAF vertical image of hospital. Copyright: NCA length of road in front of us: it was over one kilometre long and perfectly straight (plates 28 & 29).

Plate 27: Internal view Stalag 4b hospital (date unknown). Copyright: LL.M.

paved area where we parked our car. Plate 28: View west towards hospital in the far distance. All Photographs Z. Savage unless

Plate 29: View east at the camp entrance

Figure 4. : 1945 plan of Stalag 4b. Broken line indicates main routes walked. Numbers 1, Copyright: I-L.M.

Plate 30: Lager Muhlberg Memorial. Note British Legion cross

Plate 31: Memorial to German dead, also utilising local monolith stone.

and the like. Plate 32: Stone marking Guardroom position during Stalag 4b period.

subconsciously sensing a link with her father.

Plate 34: Bases of kitchens, bathroom and latrines

Plate 35: Remains of Latrine after Soviet Russian attempts to destroy.

Plate 36: Compound C to the left. Compound D to the right.

Plate 37: Compound D 2016, the location of Jones’ shooting.

Plate38: Gill viewing the grave position and photograph

Figure 5: Jones’ Neuborxdorf burial register entry

Plate 39: Mural - Neuburxdorf Cemetery Chapel

Plate40: Remains of fence post near camp entrance Courtesy: B. Fritch

Plate 41: Rail line used as gatepost, cut at ground level c. 1948

tunnel (Figure 6). Figure 6. Escape tunnel marked on June 1945 Stalag 4b plan. — Copyright: 1.L.V

Plate 43: Position of escape tunnel in RAF compound C, now overgrown.

Plate. 44 Cover of file Copyright: National Archives

Plate 45: Gill and Mr Canning meet face to face occasion; Gill and her father’s POW friend Mr Douglas Canning met face to

carried on another four hours. Plate 46: BBC interviewer and cameraman on the right transmission, after the crew departed informal chatting and discussion

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“Inadvertent Ethnography in Propaganda: J. C. Lamster's Films (1912–13).” Indonesia, no. 106, 2018, pp. 137–156.

by Sandeep RAY

2018, Indonesia

In the early twentieth century, the Dutch colonial government, working with several private entities operating in the Netherlands East Indies, significantly increased propagandistic efforts promoting solidarity toward their colony. As... more

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Videoculturas Itinerantes: Visualidad y performance en el espacio diaspórico peruano

by Ulla D Berg

Video-Culturas Itinerantes: Visualidad y Performance en el Espacio Diaspórico Peruano [Itinerant Video-cultures: Visuality and Performance in the Peruvian Diaspora]. In Gisela Cánepa (ed.): Imaginación Visual y Cultura en el Perú, pp.... more

Figura 1. Documentando la «entrega» en Urcumarca (foto de Ulla Berg, setiembre de 2004). = Mientras Melanie y yo termindbamos de instalar la cdmara, Nelly recibia a las sutoridades con un vaso de gaseosa y una bandeja con caramelos y galletas, compra- dos en una tienda Best Buy de Washington DC unos dfas antes de salir para Pert. Finalmente, el montaje estuvo listo, la cAmara grabando y comenzé la ceremonia (figura 1). En primer lugar, los uniformes fueron extendidos sobre una frazada en el piso del patio y luego contados, Después Nelly ofrecié oficialmente la donacién al alcalde en nombre de la Unién Jauja y de todos los miembros que colaboraron, cuyos nombres leyé en una lista. A continuacién se dieron la mano y el secretario municipal escribié a mano un informe en el libro de actas; luego todos los presentes, incluida yo —la antropéloga—, firmamos como testigos de la entrega.

Figura 3. Manuel y familia mirando un video de la fiesta de Ure (foto de Ulla Berg, mayo de 2005). umarca en Silver Spring

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(In)Memoria, nuevos medios y el mar: Disputando la frontera de Bolivia/Chile por Facebook

by Nell Haynes

Ponencia en Seminario Memoria, conflicto y coexistencia: Interculturalidad y descolonization en América Latina y el mundo, Santiago, Chile, 16 diciembre, 2015. Aunque la Guerra del Pacifico terminó en 1883, Bolivianos, Peruanos, y... more

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Marie Voignier/Vassilis Salpistis : Des trous pour les yeux

by Vangelis Athanassopoulos

« Personne ne se blesse. Si quelqu'un se blessait, le public dirait que la transe n'est pas vraie. » Margaret Mead, Trance and Dance in Bali (1952) Courtesy galerie Marcelle Alix

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Le Hogon d'Arou, chef sacré, chef sacrifié ?

by nadine wanono

En août 1992, le rituel d'intronisation du nouvel hogon d'Arou avait lieu1. Etalé sur plusieurs semaines le rituel consiste, à consacrer un descendant de la tribu des Arou comme représentant du dieu Amma et comme responsable de la... more

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People & Place: a study of middle class consumption sites and identity in the process of gentrification

by Georgina Jarvis

I explore material change in an area surrounding one high street in London, which is currently undergoing the process of gentrification. I consider the way material culture is used by a new urban class in the process of change: either to... more

Fig. 23: Retail units on Ridley Road Market. Personal photograph by the author. 01 August 2013.

Fig. 24: Proximity and distance: view on to Kingsland High Street, Harvest, café and health food shop, Kingsland High Street, opened 2013. Personal photograph by the author. 15 August 2013.

Fig. 25: Ridley Road Market, facing east from Kingsland High Street. Personal photograph by the author. 17 March 2013.

Fig. 26: Market stall, Ridley Road Market. Personal photograph by the author. 17 March 2013.

Fig. 2: Kingsland High Street, facing south to the City. Personal photograph by the author. 07 September 2013.

Fig. 3 to 6: Property as a symbol of gentrification. These images of the roads surrounding Kingsland High Street illustrate the process of gentrification as first defined by Ruth Glass in 1964.

ig. 7: Dalston Square, facing east. Personal photograph by the author. 15 April. 2013. he construction of Dalston Square has been ongoing since 2006, and is a powerful symbol of economic nvestment into the area. population of a young and affluent class. way into the process of change, and has shifted from somewhere that was once

Fig. 8: Harvest, café and health food shop, Kingsland High Street, opened 2013. Personal photograph by the author. 15 August 2013.

Fig. 9: Map to show consumption sites that have opened since 2008. Created by the author. 5 September 2013. In 2008, Café OTO was the first to open in response to the current stage of gentrification. The others have followed over the course of the last five years.

Fig. 11b: Cosmetic shop, Ridley Road Market. Personal photograph by the author. 06 April 2013. Fig. 11a: Homeware shop, Kingsland High Street. Personal photograph by the author. 06 April 2013. as pockets into which different classes or

and Gary Robson use the term ‘tectonic communities’ to - Fig. 10: Grocery shop, Kingsland High Street Personal photograph by the author. 06 April 2013.

Fig. 12: Row of shops, Kingsland High Street. Personal photograph by the author. 06 April 2013. “ontemporary nationalism, which remains shattered ‘regardless of all the kings In The Art of Listening Les Back uses a cracked egg as a metaphor for

Fig. 13: Jerry's, antique shop, Kingsland High Street, opened 2013. Personal photograph by the author. 06 April 2013. white working class individuals, as well as Sudanese and Somali immigrants.” So the sites offer newcomers, as well as smaller ethnic groups, a way of gaining a familiar space in an unfamiliar environment, providing them with a sense of belonging, while at the same time strengthening the Butler and Robson's tectonic communities”’. This study will consider how the visual character of the new sites of consumption enforces this culture of separation further. white working class individuals, as well as Sudanese and Somali immigrants.” So the sites otter newcomers, as well as smaller ethnic groups, a way oT gaining of belonging, while at the same time strengthening the Butler and Robson's

Fig. 14: Pound Shop, Kingsland high Street. Personal photograph by the author. 06 April 2013. wealth of the consumers who spend time within them. In most cases major

Fig. 16: The construction of Dalston Square, view from Kingsland High Street. Personal photograph by author. Its scale and location mean that it can be viewed on all approaches to Dalston.

Fig. 17: Spread from marketing brochure for Dalston Point, Barratt Homes, 2013. Personal photograph by the author. 20 September 2013. 2013. Dalston Point is the final phase of residential development in Dalston Square. This image demonstrates the status and withdrawal highlighted by Davidson, while also indicating the role of the high street, as somewhere that cultures converge.

Fig. 18: Café, Stoke Newington High Street, Stoke Newington Road, opened 2010 Personal photograph by the author. 05 September 2013.

Fig. 19: Café, Stoke Newington Road, opened 2010. Personal photograph by the author. 01 March 2013. Large post-industrial spaces such as this would once have been adopted by artists as studio space.

Fig. 20: View of Dalston House from Ashwin street. Personal photograph by the author. 12 August 2013.

Fig. 21: Map to show Dalston in relation to surrounding areas. Created by the author. 20 September 2013. Barratt Homes also recognises the appeal of a bohemian character, as a sense of presence of an alternative culture; a characteristic that the current

Fig. 22: Kingsland High Street, facing south. Persone photograph by the author. 01 Feb 2013. their volume and their density work to buffer the homogenisation of class that comes with gentrification, while providing the urban seeking class the proximity

Fig. 27: Ridley Road Market, facing east. Personal photograph by the author. 01 April 2013. The high-end residential development, Kinetica, looms overhead. Fig. 27: Ridley Road Market, facing east. Personal photograph by the author. 01 April 2013. The high-end residential development, Kinetica, looms overhead.

ig. 29: Exterior, Lardo, Italian Restaurant, opened 2012. ersonal photograph by the author. 26 August 2013.

Fig. 30: Dorley- Brown, Brian Nicol in his Richmond House studio with canvas. 1986. Borough of Hackney Archive. Fig. 31: Dorley- Brown, Neil Forster in his Richmond House studio. 1986. Borough of Hackney Archive.

Fig. 32: Interior, Lardo, Italian restaurant, opened 2012. Personal photograph by the author. 26 August 2013 The concrete around the exit, is rough and appears to be crumbling, presenting an image of instability in this space for a gentrifying class.

Fig 129: LAtelier, Café, Stoke Newington Road, opened 2012. Personal photograph by the author. 07 May 2013. A familiar form from a remembered past, offering a connection to place.

Fig 129a: A table with measure, Voodoo Rays, Kingsland High Street, opened 2012 Personal photograph by the author. 07 May 2013. An object with a history, offering belonging through an imagined past.

Fig. 33: Interior Lardo, Italian restaurant, opened 2012. Personal photograph by the author. 26 August 2013. not, and as such can be seen as a contrast the everyday, providing a means o' and technology hub of Shoreditch, it symbolises what these work spaces are

Fig 38. Street Feast East, Dalston Lane. Personal photograph by the author. 05 September 2013.

Fig. 39: LR: A row of new consumption sites: Fabrica (coffee shop, opened 2010), Stunt Dolly (hairdresser, opened 2012), Hysteria (bar, opened 2009), Lift (coffee shop, opened 2013), Kingsland Road. Personal photograph by the author. 03 April 2013. The ongoing construction of Dalston Square can also be seen in this image. perceived vulgarity of the new® that was discussed in the introduction to this

Fig. 46: Protesters during the occupation of Dalston Theatre in 2006. www.indymedia. org.uk. Web. 16 September 2013. the building uninhabitable’, and as well as this, the closure of public services and the opening of private, expensive ones that

Fig. 47: The construction of Dalston Square. Personal photograph by the author. 07 March 2013. reputations and attached meanings shifted from fear and repulsion to curiosity New York: ‘while images and symbols of urban decay remained the same, their the affluent moving in, as Mele explains in his study of the Lower East Side in

Fig. 48 and 49: Squatted environments. Photographer unknown. Nick Anning and Celia Brown, Squatting th Real Story (London: Bay Leaf Books, 1980) 154. Print. Akitchen made out of floorboards, a kitchen work top made out of an old bar. oossible materials are adapted and re-used’, illustrated in Fig.48, which shows

Fig. 50 and 51: The Secret Gin Bar. Personal photograph by the author. 05 June 13. Blinds were adapted to create a backdrop for a bar and to form partitions within the main seating space appropriated to cater to the incoming, middle class group.

visitors into a long, thin dark space. Once inside the

carpet lined the floors, peeling up at the edges. The breeze block walls were painted in a deep shade of blue unevenly applied; the roughness of the job provided a sense that they had been painted at speed and with urgency.

Fig. 60: The Secret Gin Bar in its second location. Personal photograph by the author. 07 September 2013.

Fig. 62: Entrance to Dalston Department Store. Personal photograph by the author. 07 June 2013. reputation, an image of urban instability that can be consumed safely.

Fig. 63: Oakam, payday loan shop, Kinglsanc Road. Personal photograph by the author. 05 June 2013. have to integrate themselves into the existing built, urban environment and

Fig. 64: Antique Shop, Kingsland High Street, opened 2013. Personal photograph by the author. 05 June 2013. In his study of change in Wicker Park, an outer suburb of Chicago, Lloyd writes of his first visit to the

Fig. 67: Dalston Social, bar, Kingsland High Street, opened 2010. Personal photograph by the author. 05 June 2013. Fig. 66: Bardens Boudoir, bar / coffee shop, Kingsland High Street, opened 2011. Personal photograph by the author. 05 June 2013.

Fig. 72: Retail unit to let, Kingsland Road. Personal photograph by the author. 05 June 2013 ‘ig. 73: Dalston Superstore, bar / coffee shop, <ingsland High Street, opened 2009. Personal photograph by the author. 05 June 2013 artists with scruffiness,”? and there are also cases where sites look abandoned the uneven neighbourhood social terrain. [...] Adoption of the appropriate

Fig. 74. Stoke Newington Road. Personal photograph by the author. 05 June 2013. Image shows Rubys cocktail bar, situated alongside a Turkish convenience store, which uses its shop front to clearly inform passers by of the goods it sells. Chinese takeaway. Here they have put up frontage from an old cinema and

Fig. 74a: Rubys, Stoke Newington Road, opened 2011. Personal photograph by the author. 15 January 2013. Rubys has won national awards, and yet through material culture it is presented as being part of the underground, as it promotes ideas of urban cool through its understated apperance.

Fig. 75: Street Feast East, pop up food market. Personal photograph by the author. 05 September 2013. A representation of urban abandonment and reclamation.

Fig. 76: Voodoo Rays. Pizza restaurant, Kingsland High Street opened 2012. Personal photograph by the autho 05 September 2013. An aesthetic of the underground and urban decay in a pizza restaurant.

Fig. 77: Chair and work bench, Fabrica, Kingsland road, opened 2011. Personal photograph by the author. 04 September 2013. Objects with a past..

Fig. 78: View of Dalston Square from Ashwin Street. Personal photograph by the author. April 2013. benefits, unemployed or the lowest paid worker. To put this into perspective,

Fig 80: A pallet adapted to make an A-board, Dalston Superstore. Personal photograph by the author. . hire Fig 79: Wooden pallet, Ridley Road Market. Persona photograph by the author. 01 May 2013.

Fig. 83: Lights on a market stall, Ridley Road Market. Personal photograph by the author. 01 May 2013. Fig. 84: Light, Ivy's, café, opened 2013. Personal photograph by the author. 01 May 2013. community, as they improved their surroundings with minimal financial aid.

Fig. 90: Table and chair, ‘Atelier. Personal photograph by the author. 01 May 2013. Fig. 89: Market stands, Ridley Road Market. Personal Fig.9 photograph by the author. 01 May 2013. by the Fig. 89: Market stands, Ridley Road Market. Personal Fig. 90: Table and chair, 'Atelier. Personal photograph photograph by the author. 01 May 2013. by the author. 01 May 2013. Fig. 88: Trolley, Café Lift. Personal photograph by the author. 01 May 2013. Fig. 87: Market cart, Ridley Road Market. Personal photograph by the author. 01 May 2013.

Fig. 85: Trolley, Ridley Road Market. Personal photograph by the author. 01 May 2013. Fig. 86: Stool, Café OTO. Personal photograph by the author. 01 May 2013.

Fig. 92: Chair, L'Atelier. Personal photograph by the author. 01 May 2013. Fig. 91: Market units, Ridley Road Market. Personal photograph by the author. 01 May 2013.

Fig. 97: L'Atelier, exterior, coffee shop, opened 2012. Personal photograph by the author. April 201 ase Study: L’Atelier — an imagined past With 159 persons per hectare, Hackney is one of the most densely populated their identity as part of the existing framework. As | have shown, the identity of

Fig. 98: LAtelier, interior with serving bar. Personal photograph by the author. April 2013 chosen Is one contraaictory to the newness ot the building; | he business Itser occupies one large room, which has been partitioned to create a small entran area and kitchen. The seating and serving areas occupy the main space. The main area is narrow with a serving bar running along one side. Throughout are ‘ables and chairs. There are also several chalkboards within the space, which nform customers of the food and drink for sale. To the right of the serving area is a sink hidden by a rusty basin and disguised as a washstand. Lights are Dositioned against the wall, on tables or hanging from the ceiling. In front of he serving area is a pile of upturned crates with a basket on top, within which s a mixed selection of small pumpkins. To the left of this is another crate full of aged glass bottles. Along the back wall, behind one of the large tables are rows of shelves full of ornaments: an eclectic mix that includes preserved outterflies, pottery bears, along with a set of weighing scales. Also along the nalls are framed illustrations and medical drawings. Throughout the space smaller shelves have been positioned to display more ornaments. Along the hin window ledges are children’s plastic toys which include plastic farm anime chess pieces and dice. Large bare branches are positioned on the back wall. Around the room are plants in terracotta pots, the hardy kind that you would =xpect to survive in dry conditions. There is also a pineapple plant, and on ea of the tables is an arrangement of dried twigs and vases of dried flowers.

Fig. 104: LAtelier, looking out to Stoke Newington Road. Personal photograph by the author. April 2013

Fig. 105: Tugra Baklava, Turkish bakery. Personal photograph by the author. 03 May 2013. evidently perceptible only in terms of its rate ¢

Fig. 109: Café Lift, exterior, Kingsland Road, opened 2013. Personal photograph by the author. April 2013. The towers and ongoing construction of Dalston Square can be seen in the background Café Lift: an aestheticised version of the past

Fig. 115: Café Lift, seating. Personal photograph by the author. April 2013.

Fig. 118: Café Lift, shelves. Personal photograph by the author. 30 May 2013. Objects with as history, such as those above, play a role in the creation of places to gain a sense of belonging

Fig. 119: Things We Like, café, Stoke Newington Road, opened 2013. Personal photograph by the author. only a place that they can feel at home, but a way of dealing the present, whil from the outside world which Lift offers, illustrates how through evocations of Although the sites of consumption that are central to this study serve

Fig. 120: Plastic Figurines, L’Atelier. Personal photograph by the author. 20 August 2013. to the particular way it resonates with the

Fig. 122: Television, Welcome To the Jungle, Café, opened 2011, Dalston Lane. Personal photograph b the author. 17 June 2013. Fig. 121: Bubble gum dispenser, Stunt Dolly. Personal photograph by the author. 25 April 2013 In an essay calling for the redefinition of

Fig. 123: Ornaments, Café Lift. Personal photograph by the author. 06 September 2013. which she argues can be ‘metaphorically aligned to gold plating, used to denote

Fig. 124: Chandelier, Café Lift. Personal photograph by the author. 06 September 2013. environment into which they have chosen to is useful to consider Attfield’s words on kitsch,

Fig. 125: Candelabra, Things We Like. Personal photograph by the author. 07 September 2013. such a degree that they become theatrical in

Fig. 126: Globe, Blue Tit. Personal photograph by the author. 16 April 2013. nature. The deployment of objects in such a

infamiliar place, serving to create a new Fig. 127: Teddy bear ornament, L'Atelier. Personal photograph by the author. 06 September 2013.

Fig. 128: Owl carrier, Dalston Emporium, Café, Kingsland High Street, opened 2010. Personal photograph by the author. 07 February 2013. dentity, but also composing oneself and finding an identity within the changing are drawn to it change. The objects within the spaces have the power to pull some

Fig. 131: Ridley Road Market, facing west. Personal photograph by the author. 01 March 2013. Social change effects identity, with everyday encounters shaping who we are and who we become. The ethnic mix present in Dalston today is a product of globalisation. Since the first wave of Turkish residents arrived in the 1930s, it has been an area where different cultures have existed alongside one another, with sites of consumption facilitating networks of relationships and assisting new communities to form and shape the present.' However, history has taught that the homogenising process of gentrification will continue, and as it does, identities will continue to be effected as change moves across the local landscape. has been an area where different cultures have existed alongside one another,

Fig. 132: Ridley Road Market, facing west. Personal photograph by the author. 17 July 2013. Changing identities: social and geographic.

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2020 Introductory Remarks on Georg Langer's On the Function of the Jewish Doorpost Scroll from 1928 and Article

by Batsheva Goldman-Ida

2020, Images - Advanced Articles

Introduction to new English translation of an article by Jiří (Georg) Mordechai Langer (Prague, 1894 - Tel Aviv, 1943): ''On the Function of the Jewish Doorpost Scroll (Mezuzah),'' first published in Freud's Imago Journal in 1928. Langer... more

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Архивное этнографическое кино как исторический источник / Archival Ethnographic Films as a Historical Source

by Ivan Golovnev

2018, Вестник архивиста

В статье на основании текстовых и визуальных архивных документов исследуются особенности и информативные качества феномена советс-кого этнографического кино, практически не изученного ни в этнографии, ни в киноведении. Анализируя... more

В статье на основании текстовых и визуальных архивных документов исследуются особенности и информативные качества феномена советс-кого этнографического кино, практически не изученного ни в этнографии, ни в киноведении. Анализируя показательный опыт первопроходцев направления этнокино в СССР режиссера А. А. Литвинова и исследова-теля В. К. Арсеньева, автор прослеживает эффективную методологию их научно-кинематографического творчества: от стадии написания сце-нарных эскизов на основе научных текстов, через длительные полевые киноэкспедиции до редактирования итоговых киноработ при участии научного консультанта. Выбор хронологических рамок исследования обосновывается тем, что рубеж 1920-х-1930-х гг.-время развития направления этнографического кино в Советском Союзе, характеризовав-шееся не только количественным, но и качественным развитием. За этот период была создана панорама фильмов этнографического содержания о различных народностях многонациональной страны Советов. И наиболее значительные из данных киноработ создавались при участии професси-ональных ученых. В частности, результатом сотворчества А. А. Литви-нова и В. К. Арсеньева стала серия этнографических киноработ об этни-ческих сообществах Приморья (удэгейцы) и Камчатки (коряки, ламуты), заслуживших признание и широкого зрителя, и научной аудитории. Эти кинодокументы являются одними из первых визуальных свидетельств по этнографии народов Дальнего Востока. С учетом этно-киноведческого ракурса в статье сделаны выводы: этнографическое кино при соо-ветствующем комплексном подходе представляет собой особую форму исследовательского познания; итоговый фильм, как «документ» своего времени, при должной аналитической критике является информативным историческим/этнографическим источником. Изучение малоисследованного пласта архивных этнографических фильмов является актуальным направлением для широкого спектра гуманитарных изысканий, и его результаты заслуживают введения в активный научный оборот. А опыт их создателей представляет ценный практический пример для деятельности современных этнокинематографистов.

The article draws on text and visual archival documents to study nature and informative value of Soviet ethnographic films. Ethnographic cinema is a phenomenon almost unstudied by both ethnography and cinematology. Analyzing an illustrative experience of film director A. A. Litvinov and researcher V. K. Arsenyev, who were at tip of the spear in Soviet ethnocinema, the author investigates effective methodology of their scientific and cinematographic work: from script based on scientific texts to lengthy ethnographic filming expeditions to editing of the films assisted by scientific advisors. The choice of the chronological framework rests on the fact that late 1920s-early 1930s was a time of growth for ethnographic filming in the Soviet Union, characterized by both quantity and quality of ethnographic films. It was a time when a panorama of ethnographic films about different peoples of the multinational Soviet country was created, in production of the most significant of these professional scientists were involved. A series of ethnographic films about ethnic groups of Primorye (the Udege), Kamchatka (the Koryaks, the Lamuts), and Chukotka (the Chukchi), a collaboration of A. A. Litvinov and V.K. Arsenyev, received recognition from the public, and also from the scientific community. These film documents are among first photovisual records on the ethnography of the peoples of the Far East. From the point of view of ethnographic cinematology, the article concludes that ethnographic films, if approached scientifically, become a form of research, film as a 'document' of the period providing historical and ethnographic data. Little-studied archival ethnographic films are a promising area of research, well deserving being included into the scholarship. Their cre-ators' experience is of practical interest for modern ethno-cinematographers. Ключевые слова Архивное этнографическое кино, исторический источник, визуальная антропология, история малочисленных народов СССР. Keywords Archival ethnographic films, historical source, visual anthropology, history of the small-numbered peoples of the USSR.

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Thrust into Heaven. Ambiguity and Degradation in Multi-Mediated Ethnographic Research (2020)

by Jürgen Schaflechner

2020, Dastavezi. The Audio-Visual South Asia (2)

Essay on the 2016 film Thrust into Heaven (found at www.juergen-schaflechner.com)

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Algumas notas sobre o filme de homenagem a Benjamim Pereira

by Catarina Alves Costa

2019, Algumas notas sobre o filme de homenagem a Benjamim Pereira

Numa rua deserta e caiada da Aldeia da Luz, um galo canta. Ouve-se a voz de Benjamim Pereira, por detrás da câmara :-Sr. Francisco, vamos esperar mais um bocadinho, é que ... querem filmar! Este olha a câmara e, para cima, na direcção do... more

Numa rua deserta e caiada da Aldeia da Luz, um galo canta. Ouve-se a voz de Benjamim Pereira, por detrás da câmara :-Sr. Francisco, vamos esperar mais um bocadinho, é que ... querem filmar! Este olha a câmara e, para cima, na direcção do microfone. Ouve-se então o operador de som, Olivier Blanc:-Pronto! E, de novo, o Sr. Francisco:-Vocemecês é que sabem o que é que querem... Estamos instalados naquilo que antecede o momento da entrevista, da inquirição, o momento em que o antropólogo dá início a mais uma conversa cujas informações vai depois sistematizar, guardar, ligar com outras, eventualmente arquivar. O que no início é um comentário em off, uma indicação de Benjamim Pereira, começa aos poucos a ser uma presença que ganha corpo ao longo deste pequeno filme e em que, à medida que avançamos, vamos estando mais ao lado do etnólogo. Estas imagens não foram, no entanto, feitas com o intuito de mostrar, reflexivamente, o etnólogo em trabalho de campo. Nas primeiras cenas desta montagem, é apenas o acaso que faz com que Benjamim esteja presente. Ele é a personagem que não entra no filme, nem na pesquisa. Ao longo do tempo, fomos de vez em quando apontando a câmara e o microfone àquele que parecia ser o catalisador de tudo aquilo que acontecia no trabalho de campo da Aldeia da Luz. Com este conjunto de imagens e sons, pretendíamos, antes de mais, prestar uma homenagem ligada à partilha do trabalho, da pesquisa, das sociabilidades e das amizades durante o longo trabalho de campo na Aldeia da Luz. Para além da recolha visual para aquele que viria ser o arquivo das memórias da velha aldeia, resolvemos, algumas vezes, registar o processo de prospecção de objectos etnográficos que viriam a fazer parte do acervo do Museu da Luz. Neste pequeno filme, Benjamim, falando com a D. Faustina a partir de algumas peças que parecem estar guardadas para uma função a ser designada pelos seus netos, vai dizendo:-Isto é uma peça fantasticamente interessante... E ainda:-Isto era para o museu, o seu neto não tem lugar para isto, é no museu que tem que estar, este banco é lindíssimo, olha esta peça...sabe, é uma lição de design, a mão encaixa aqui, segura, é prodigioso, a gente está a ver o movimento.... Mas o projecto geral em que estivemos envolvidos, que se viria a chamar Imagens e sons para o

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Looking for Mr. Right Now. What we talk about when we talk about Tinder.

by Anne Chahine

2019, Anthropology News

Photo Essay about the sensory experience of online dating. Anthropology News was looking for critical anthropological perspectives on and around love and invited me to write a short piece about my short documentary Looking for Mr. Right... more

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La familia en la pantalla. Percepción social y representación audiovisual de etnomodelos procreativos en el cine y la televisión en España

by Jorge Grau Rebollo

2001

Este libro recoge las conclusiones más significativas de una investigación que comenzó en 1993 examinado la pertinencia de incluir medios y técnicas audiovisuales en proyectos de investigación social, y que desde 1996 hasta el 2000 se... more

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Video Ethnography and Critical Research for More Democratic Urbanization: The Case of Milan’s Chinatown

by Lidia K.C. Manzo

2017, Visual Anthropology

This article reflects on the notion of urban democracy through a video-ethnographic study of the conflicts that followed the 2007 riots in Milan's Chinese neighborhood. I explore how the theoretical and methodological union of critical... more

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Sammy Baloji & Filip De Boeck (2017) 'Urban Now. City Life in Congo', at The Power Plant, Toronto, Canada (29 Sept-31 December 2017).

by Filip De Boeck

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"Étranger de l’intérieur, Étranger d’ailleurs : Les mémoires graphiques de Spiegelman et de Sacco", Revue Altérité 9 (1).

by Emanuelle Dufour

Le présent article étudie les dispositifs de certains romans graphiques à la lumière des concepts anthropologiques afin d’illustrer leur potentiel en tant qu’outil au service de la rencontre et de la contextualisation du regard de... more

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Por qué y cómo trabajar con archivos desde la Antropología Audiovisual latinoamericana a partir de un análisis de caso: el Archivo Blomberg

by Franco Passarelli

2017, Revista de la Escuela de Antropología (Rosario, Argentina)

El presente artículo analiza algunas de las posibilidades teóricas y metodológicas que tiene un/a antropólogo/a audiovisual al trabajar en un archivo, en mi caso el Archivo Blomberg (Quito, Ecuador). Las siguientes reflexiones apuntan a... more

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ВИЗУАЛЬНО-АНТРОПОЛОГИЧЕСКИЕ ИССЛЕДОВАНИЯ СТАРООБРЯДЧЕСТВА

by Natalia Litvina

краткое определение предмета и области исследований визуальной антропологии. Описаны особенности видеосъемки в старообрядческой среде, основные тематические блоки видеоархива старообрядчества в МГУ и состав видеофонда верхокамского... more

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Special issue: Difference and globalization

by Giorgia Aiello

Our original aspiration for this special issue was to attract a broad base of visual communication scholars working on the nexus of difference and globalization, with the aim of defining the substance and assessing the significance of... more

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Leinwandstädte: Überlegungen zu einer Soziologie der gefilmten Stadt. <1997>

by Bernward Joerges

1997, Matthias Horwitz, Bernward Joerges, Jörg Potthast u. a., Stadt und Film, Versuche zu einer "Visuellen Soziologie", FS II 96-503, Berlin: WZB 1997, 113 S.

Der Vorspann eines Films von Ridley Scott, Someone to Watch Over Me, fängt mit einem wie gewohnt faszinierend durchgeführten nächtlichen Überflug des glitzernden Manhattan an und endet, hinüberleitend in die erste Szene, mit einem Schwenk... more

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Il grado zero delle immagini. sulla costruzione visiva della memoria

by federico rahola

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Néprajzi filmek két megközelítésben

by Gyöngyi Heltai

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Mardi Gras: Made in China Directed by David Redmon

by David Redmon

2009, Visual Anthropology Review

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Tendenciák a kortárs vizuális antropológiai gondolkodásban